Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.

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Friday, August 5, 2016

Many years ago when I was still young I received a couple of tickets to hear Beethoven's Missa Solemnis as performed by a reputable organization at Carnegie Hall. I invited a young lady to accompany me and we listened carefully through to the end. "Well," I asked after the last bars and applause were over, "did you like it?" "No," she said matter-of-factly. "Come to think of it," I said to myself, "I didn't much like it either." I had a number of recordings of it but never seemed to connect. Years later, looking back, I realize now that it is one of the more difficult Beethoven works, like an endless version of the finale to his 9th, only lacking in an abundance of the sort of riveting thematic material that Beethoven thrived upon. There is much to appreciate, regardless, but only a performance of absolute perfection convinces.

Nikolaus Harnoncourt didn't come to mind as one of the potentially great "Solemnis" conductors in the past. But somehow he overshadowed most everybody else in July 2015 in a live performance at the Styriarte Festival in Graz. With him were a distinguished cast of soloists, the Arnold Schoenberg Choir and Concentus Musicus Wien. Luckily it was well recorded, and we now have it out on CD (SONY Classical 88985313592). It was to be Harnoncourt's very last recording.

Every phrase seems hand-sculpted, designed sonically to express Beethoven's intent. The choir rings out ecstatically, the soloists are dedicated, the orchestra neither fades away nor is overly dominant.

It is a live recording, so that one might imagine a second take on some passages, not many though.

It is a wonderful tribute to one of the prime musical masters of our times. It is neither bloated nor overly lean in sound. It is a moving farewell to the Maestro, and it may make a Missa Solemnis convert out of you. I think it managed to confirm that for me!

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About the Blog

Grego Applegate Edwards's Classical-Modern Music Review blogsite covers recent releases or re-issues of recordings that feature classical and concert music, primarily of the 20th and 21st Centuries, but earlier music as well when warranted. All styles of relevance will be addressed from Late-Romantic and Neo-Romantic through High-Modern, Avant Garde and Post-Modern styles. Chamber music, orchestral, choral, operatic, and electronic forms will be considered as well as music that combines a classical element with one or more other stylistic elements. Earlier periods will get coverage when a release has something to say to us. Both established and unfamiliar composers will get attention. All content copyright 2007-17 by Grego Applegate Edwards.

About Me

I am a life-long writer, musician, composer and editor. I wrote for Cadence for many years, a periodical covering jazz and improv music. My combined Blogspot blogs (as listed in the links) now cover well over 3,000 recordings in review. It's been a labor of love. The music is chosen because I like it, for the most part, so you won't find a great deal of nastiness here. I have no affiliations and gain nothing from liking what I do, so that makes me somewhat impartial. I do happen to like a set of certain musics done well, so it's not everything released that gets coverage on these blogs. I have eleven volumes of compositions available on amazon.com. Just type in "Grego Applegate Edwards" to find them. (But one is under "Gregory Applegate Edwards.") I went to music and higher education schools and got degrees. It changed my life and gave me the ability to think and write better. I've studied with master musicians, too. The benefits I gained from them are invaluable. I appreciate my readers. You are why I write these reviews. I hope the joy of music enriches your life like it does mine. Thank you. And thank you to all the artists that make it possible.